Navegando por Palavras-chave "Desinvenção"

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    Por uma poesia dos restos: o feio e o insignificante em Manoel de Barros
    (Univ Estadual Paulista, Fundacao Editora Unesp, 2017) Costa, Leila de Aguiar [UNIFESP]
    The words want to be myself. I bring roughness to their mouth. I scratch them off of their varnish and metaphysical flights (BARROS, 1996, p. 333-334 - editor's translation): here is how, according to Manoel de Barros, he carries out his poetical act. To make his poetry unvarnished, therefore, he must extricate it from everything that got it lost and perverted. This is, then, a chance for the Poet to disinvent and unwrite all the arbitrarily constituted meanings and all the signs instituted in authoritarian ways. Manoel de Barros builds his poetics that eschews elevation and defends the irrelevance and the unimportance of poetry upon the ruins of logos. Hence, there are poems of his which carry a repository of hackneyed forms, of fragments of daily language and images of the world that somehow intermingle with a certain aesthetic of ugliness: by means of displacement, deviation and transgression of all linguistic and rhetorical organization - a mise en abyme exercise revealed by titles such as "Compendio" ("Companion"), "Tratado" ("Treatise"), "Gramatica" ("Grammar"), "Livro" ("Book"), he inagurates unwordiness as a scene peopled by figures such as "cuspe" ("spit"), "bosta" ("shit"), "detritos semoventes" ("walking detrituses"), "urinois" ("urinals"), and many others. Therefore, In this article, we aim to study the ways of the poetic word that is made opaque and which grants that "whatever is good for the dustbin is good for poetry" (BARROS, 2010, p. 147).